Title Variation Movements for Trumpet (1967) by Robert Henderson Biographical Info Robert Henderson’s remarkably productive career began before he reached college age and has expanded without pause since then. He was three years old when his father gave him his first violin lessons. When he reached his teens he added piano and horn to the instruments he played, and began studying composition and theory with Donal Michalsky. By the...

Title Shazam for trumpet solo (1984) By Folke Rabe Biographical Info Folke Rabe born 1935: ‘A portrait of Folke Rabe,’ as Goran Bergendal has wittily observed, ‘would be made up of one composer (or two or even three), a couple of trombone players (jazz trombone and member of the Culture Quartet), one actor (the New Culture Quartet), one teacher (the Sound Workshops, which helped people to find their ears), several administrators...

I had a student the other day that was having difficulty playing without tension and was really “attacking” the notes – not playing the music, thus getting all tight, thus missing more, thus getting more tense…  We talked a minute about what could be causing him to be having such an off playing day and decided that while he warmed up at home before his lesson, he jumped right into playing when he got to his lesson which was...

Someone showed a list similar to this to me a while back and I apologize for not currently being able to give proper credit to the original author.  I have edited and paraphrased a few things in my list but primarily the credit for this Prep List goes to someone else out there in the music world.  (If anyone knows this source please leave that info in a comment below.) The ideas below are obviously geared toward trumpet players but any...

A fellow Tom Harrell fan, great trumpet player and friend Jamie Beiwick shared this interview clip on his facebook page.  Tom is not only one of the greatest jazz trumpet players of all time (imho) but also a very deep thinking, spiritually sensitive person.  This is a great interview clip mixing commentary with playing.  I am especially blown away by Tom’s solo on Green Dolphin Street.  (about 3:20 minutes in) Enjoy! Jazz...

Title Concerto for Trumpet and Orchestra Johann Friedrich Fasch, 1688-1758 Scored for 2 oboes, solo trumpet, strings, and continuo Biographical Info Johann Friedrich Fasch is an example of that all-too-common phenomenon in music, the forgotten innovator. A contemporary of Bach (1685-1750), Fasch was a prolific Baroque composer, writing among other things over 90 suites, 16 masses, 4 operas, 61 concertos, and 19 symphonies. He was well...

Tom Harrell has been one of my musical heroes for many years.  In fact, I would say his playing and composition have had the most profound impact of all my jazz influences.  I have done many transcriptions of Tom’s solos and in doing so have developed an even greater appreciation for his musicianship.  His lines are often un-idiomatic, meaning they don’t lay naturally for the trumpet.  It is as if playing the trumpet for Tom is...

I can count on one hand the crossover trumpet players that I would actually buy CDs of BOTH their classical and jazz playing.  Rex Richardson is one of those players.  There are plenty of players who specialize in one field and dabble in the other but it’s rare to find someone that digs in, way in, to jazz improvisation AND classical technique/repertoire.  I was first introduced to Rex’s playing when we shared a new-music recital at...

Title Call for Solo Trumpet (2003) By James Stephenson Biographical Info Jim has composed a considerable amount of fantastic material for trumpet; sonatas, concerti, etude books, chamber music and unaccompanied solos.  I have heard that he has even composed music that involves instruments other than the trumpet.  I know … hard to believe, but you can find a complete listing of his compositions and arrangements here.  His website, by...

I spend some time on TPIN (Trumpet Player’s International Network) which is an email sent with threads of topics for and about trumpet playing.  Recently, I came across a post from my friend John Daniel, that I thought held particular merit for my site, AllThingsTrumpet.  John is currently the trumpet professor at my Alma Mater, Lawrence University in Appleton Wisconsin and a member of the Battle Creek Brass Band.  I asked John if I...

Title Litany of Breath For Unaccompanied Trumpet By David Sampson Biographical Info David Sampson is a trumpet player, teacher and composer living in New Jersey.  He has made considerable contributions to 20th and 21st Century trumpet literature by composing more than fifteen works featuring the trumpet as well as works for wind ensemble, brass ensembles of various instrumentation and choirs.  Further biographical information on David...

Title Solo For unaccompanied flugel horn or Bb trumpet by David Sampson Biographical Info David Sampson (b. 1951, Charlottesville, Virginia) has emerged as one of the truly unique voices of his generation achieving rapidly growing attention from major orchestras, soloists and ensembles.  He holds degrees from the Curtis Institute of Music, Hunter College, Manhattan School of Music, and the Ecoles d’ Art Americaines, where his teachers...

Outside of practicing your butt off, aspiring jazz musicians are told two things will also help their improvising; listening to great jazz players and transcribing their solos.  I do not disagree with this.  After all, jazz is a language and to understand it we must not only study the grammar of how to spell and write, but in order to speak it we need to listen to hear how it sounds.  However, here is the point where I differ slightly...

Title Fantasia for Solo Trumpet (2008) By Lauren Bernofsky Biographical Info Although Lauren Bernofsky was trained as a violinist, she has contributed a substantial amount to the brass repertory.  Her list of compositions can be found here. The Fantasia for solo trumpet was commissioned by John W. Cain. Suggested Equipment Lauren composed this for Bb or C trumpet.  Except for the high E at the very end I prefer to play this on C...

Ray Mase is one of my absolute, all-time favorite trumpet players.  He plays in the American Brass Quintet, Orpheus Chamber Orchestra and teaches at Julliard Aspen Music Festival.  He has the most singing, vibrant, lyrical tone I have ever heard on the trumpet and is a huge influence on my playing.  I highly recommend his CD, “Trumpet In Our Time”.  The article that follows is one of his on how to practice more efficiently by...

Here is a transcript from a clinic given by the great Bud Brisbois.  He gave a concert at my alma mater Lawrence University with the group Matrix (mentioned below and pictured above) just before he committed suicide.  While I was not at Lawrence at that time, many of my teachers were.  They talked and still do talk extremely respectfully of Bud and I am very thankful that they turned me on to one of the true legends of the trumpet.  (I...

In May of 2005, I hosted a trumpet conference that featured the former principal trumpet of the Chicago Symphony, the great, Adolph Herseth.  It was a three-day event that not only showcased him in recital with none-other than Doc Severinsen, but featured him in a number of educational settings.  What follows is an article written by a former student, Jerod Sommerfeldt, and myself that appeared in the September 2005 ITG Journal. Adolph...

In May of 2005, I hosted a trumpet conference that featured the former principal trumpet of the Chicago Symphony, the great, Adolph Herseth.  It was a three-day event that not only showcased him in recital with none-other than Doc Severinsen, but featured him in a number of educational settings.  What follows is an article written by a former student, Jerod Sommerfeldt, and myself that appeared in the September 2005 ITG Journal. Adolph...

Title Concerto for Trumpet and Orchestra For Bb or C trumpet and piano (1996) By John Williams Biographical Info “Given a background of playing trombone and trumpet as a teen, and after writing so much brass music for films and for ceremonial pieces, you can imagine my pleasure when the Cleveland Orchestra asked me to write a concerto for their newly appointed principal trumpeter, Michael Sachs.  Not only did this commission offer me an...

In May of 2005, I hosted a trumpet conference that featured the former principal trumpet of the Chicago Symphony, the great, Adolph Herseth.  It was a three-day event that not only showcased him in recital with none-other than Doc Severinsen, but featured him in a number of educational settings.  What follows is an article written by a former student, Jerod Sommerfeldt, and myself that appeared in the September 2005 ITG Journal. Adolph...

Title Unaccompanied Suites originally for Cello Johann Sebastian Bach Edited and Arranged by David Cooper Biographical Info Bach composed the cello suites while he was employed at the court of Cöthen (1717-1723) as capellmeister and director of chamber music.  At this time, he devoted his efforts to instrumental music in which he set up perfect models and guides to professional musicians, advanced students, and music lovers. The six...

Most universities require that their music majors perform a half recital (20-30 min) their junior year and a full recital (45+ min) their senior year.  Here are some thoughts and strategies I have on programming. Programming Strategy Your first recital can be a nervous endeavor.  Like many of us, when nerves come in to play, our endurance suffers.  I encourage my students doing junior half recitals to pair up and share this program with...

This is my mantra with my private and university students.  (Actually, one of my many mantras.)  Another favorite is: Scales are Useless!  -until they’re memorized. My problem with typical scale work is that everybody practices them the same way.  (Click the scale images to enlarge them.  Then, your “back” button to come back.) Here is an analogy.  Say you were to have to come to my house, out in the middle of nowhere,...

I’m going to break from the norm of this site for a moment and offer up a musical selection.  I know this may not be following the educational and informational direction of this blog but I came across this mp3 the other day and just thought I would share it. The Setup A few years ago saxophonist Tom Gullion, called some musicians together to play on a recording project of his.  The night before the recording session I happen to have a...

One of the things I find myself discussing often with students is how to make a trill, or general ornamentation guidelines.  It’s actually pretty involved, aside from the part about making a finger go up and down… First a little historical (hysterical) context: The Quantz View Noted musicologist Johann Joachim Quantz (1697-1773), on ornamentation, particularly trills. It must be noted that his reference to the “shake” should be...

Those of you that know me know that I have a passion for playing many musical styles as deeply and sincerely as I can.  In fact, I think the main thrust of this AllThingsTrumpet blog is geared for the versatile cross-over player.  All that being said; I would like to convey some thoughts on a musical situation that recently got me thinking. A more subtle cross-over playing situation My contracted position with the Madison Symphony is for...

Title Sonata no.1 “The Tempest” For C trumpet and piano By David Gillingham Biographical Info The first sonata of David Gillingham bears the nickname, “The Tempest” because of the stormy and turbulent nature of the first movement, the somber aftermath of the second movement and the whirlwind drive of the third. Suggested Equipment C trumpet is preferred because of the extreme endurance demands.  There are also technical...

As we get older and (hopefully!) develop musically it seems that the demands on our time and playing increase exponentially.  There never seems to be enough time in the day for everything that I want/need to work on.  Coming up with a method of organizing my practice time has helped me tremendously.  When I observe this “pie chart” practice methodology I feel a sense of accomplishment at the end of a practice session, rather than...

Part IV Musicality This subject is too often overlooked or brushed-over by students.  It seems that once a player learns all the right notes and rhythms the objective is complete.  In my opinion, this is now the beginning!  In our world of fast food and computers people expect results too quickly; at least I believe this to be true in the music world.  Turning a phrase in a natural, improvisatory manner takes time and living with the...

Part III Technique Part three of my routine comprises quite a large area of information but it is all related to developing right hand technique and coordinating the right hand with articulation.  In keeping with the idea of focusing on a minimum number of variables, limit the range of these exercises at first.  Play scales from root to fifth, slurred, as quickly as possible, while maintaining control and accuracy. Audio clip: Adobe...

The article that follows was something that was published in an International Trumpet Guild Journal a number of years ago. Part II Strength-Flexibility The body consists of muscles that work in primarily two contexts.  Slow-twitch muscles are used for activities that require a great deal of strength, and the Fast-twitch muscles are used for quick, repetitive or graceful maneuvers.  Two sets of visual examples would be comparing an...

Why Do I Need to Practice Scales? The Value of Tonal Literacy This article was written from a music educators point of view.  It was written by Thomas West and appears on his website here.  He has graciously allowed me to reprint it here on AllThingsTrumpet.com for you.  Enjoy! Posted by Thomas J. West on March 14, 2010 at 9:18 PM Scale Study as a Technique Builder The most obvious value of studying major scales and tonic...

The article that follows was something that was published in an International Trumpet Guild Journal a number of years ago. Creating music on the trumpet can be a daunting proposition to the young and not-so-young student of music.  There are countless aspects to be considered and mastered when one thinks of the ‘simple’ act of turning a phrase.  To help us begin cutting through this fog, we can use principles in creative problem...

Title Concerto for Trumpet and Orchestra (1997) By Lauren Bernofsky Piano reduction by the composer (2001) Biographical Info Although Lauren Bernofsky was trained as a violinist, she has contributed a substantial amount to the brass repertory.  Among these pieces is her Trumpet Concerto (1997), a full-length work cast in the traditional formal plan of the classical concerto, but in a more modern tonal language. The piano reduction premier...

Last season, (2010) the Madison Symphony played a concert featuring trumpeter Chris Botti.  We were basically his back-up band and to be very honest I was not really looking forward to the event.  I know that Chris is probably one of the top five most popular trumpet players in the world right now, along with Wynton Marsalis, Arturo Sandoval and perhaps Doc Severinsen.  I’ve performed with these other three and can attest that they...

Here’s a little tip that many of us already know but can really be helpful especially when sight reading. I think we can all agree that it is essential to create and maintain a pulse to use as an internal metronome while playing.  We were taught to tap our foot to the beat and play along with the pulse created by our foot tapping.* (I have a problem with this but will get into that in a minute.)  My suggestion is to use BOTH feet when...

I was recently teaching at a music camp and heard a fellow faculty discuss the value of practicing scales.  This is something I feel very strongly about and it was encouraging to hear someone else, (from a different instrument even!) feel the same way.  It somehow gave me comfort knowing that I’m not alone in my obsessive behavior toward scale work. Robert Spring is the clarinet instructor at this camp and at Arizona State University...

Title Aria con Variazioni For Bb trumpet/cornet and piano By G. F. Handel (trans. Bernard Fitzgerald) Biographical Info Aria con Variazioni began life as one of Handel’s many works for solo keyboard; specifically his 5th Harpsichord Suite.  Bernard Fitzgerald was a pioneer in transcribing music for brass instruments, primarily trumpet.  Our repertoire has increased tremendously thanks to his work.  This piece is no exception.  It...

I am someone that tries to maintain as high a level of classical trumpet playing as jazz playing.  Call me obsessive-compulsive but I can’t “dabble” at anything.  If I can’t dive in and do something 100% I lose interest and would usually rather not do it at all.  There are a number of trumpet players out there like me “crossover players”, and this article is for you.  Actually, you will find a number of articles on this blog...

I have come to believe that the warm-up is the single most critical element to improving on the trumpet.  I have talked about this concept with every student that I have ever met with.  I have also been talked to about this concept from the many different trumpet teachers I have studied with over the years.  Everyone has their own take on this but I think the main thing is to develop your own take on a good, thorough warm-up routine that...

Title The Burden of Destiny For Bb or C trumpet and piano By James Stephenson Biographical Info Burden of Destiny was written for Chris Martin, the principal trumpet of the Chicago Symphony.  James Stephenson relocated to Chicago about the same time as Chris’ appointment and wanted to write a relatively serious piece that would represent the new Chicago ties both of them now have.  Much inspiration was drawn from Carl Sandburg’s poem,...

The Hypothesis Have you ever felt like your progress in learning jazz improvisation is stagnant, rambling, directionless or going nowhere?  It’s easy to feel that way because there is so much to learn in this art form and too many possible directions to go at once.  Looking at a blank page and writing, or blank canvas and painting, without an objective is sometimes too unstructured for a young artist.  If you approach your learning in...

Title Prayer of St. Gregory By Alan Hovhaness, op. 62b Peer International Ed. Biographical Info Alan Hovhaness, of Armenian and Scottish descent, was born in Somerville, Massachusetts, on March 8, 1911. He began composing as soon as he could read music, at the age of four – a spontaneous act which seems to have had about it the inevitability of an unquestioned law of nature.  His output is vast as indeed are the giant melodies which...

This analogy is an old one, and I don’t like it very much.  Onions are used for a bunch of different scenarios, but when I said this to a student the other day I decided I had to sit down and try to better figure out what this means to me.  Layers, I guess, and how to deal with them.  Let’s get in to this. Prioritize (Onionize) your Sight Reading It is a very important concept to prioritize your goals when sight reading; especially...

Title Rustiques for Cornet in Bb or Trumpet in C or Bb and Piano by Eugène Bozza Biographical Info Eugène Bozza (1905-1991) has been for many decades not only one of France’s most prolific composers but, like Hindemith and Stevens, a great boon to woodwind and brass players.  His hundreds of solo and recital works have involved virtually every known instrument and instrumental combination, from consort pieces for three bassoons, six...

The following is an exerpt from my book, “Recycling in Jazz Improvisation” which can be downloaded as a pdf in my Books section of DavidCooperMusic.com. The core concept for this book started a while ago when I began teaching my younger trumpet students to practice major scales in what I call “scale fragments”.  I have found that this can be a more efficient means to work on major, diminished, whole-tone, and...

A Trend In Trumpet Playing I have found that in recent years there seems to be a trend for music students, in particular, students of the trumpet, to strive for music careers that encompass and embrace a wider variety of musical styles. Perhaps this is due in part to the fact that the freelancing musical climate has changed from one where a player could more easily make a living doing just studio work or symphonic work or playing in a big...

Martial Arts study taught me to be aware of different spheres of influence that are always present; a safe or un-reachable distance from my opponent, the distance of my initial contact, the preferred distance of greatest control, and too close.  I had a musical experience that got me thinking about these spheres not in a physical context but from a musical performance perspective.  As a performer, we are taught to listen, react and...

The last week of May, 2010, I played a recital with my tuba-playing friend and UWP colleague, Mike Forbes at ITEC.  (International Tuba Euphonium Conference) It was held in Tucson at the University of Arizona, a truly beautiful campus.  I’ve been to many International Trumpet Guild (ITG) conferences and this was my first Tuba Conference. There were of course many similarities; recitals, clinics, master classes, and evening concerts. ...

This article appeared in a 2009 ITG journal.  (Unfortunately, the picture that accompanied the ITG article was of a young Terence Blanchard, not Freddie.   My pic is the real deal.) I’d like to share a few of my thoughts about Freddie Hubbard, who died at the age of 70, on December 30, 2008.  The perspective that I will offer is my own, as a trumpet player that has been greatly influenced by the power of Freddie’s music. ...

The following article is an excerpt from my book, “Recycling in Jazz Improvisation” which can be downloaded as a pdf in my Books section of www.DavidCooperMusic.com. There has been a lot of great information written about the use of the pentatonic scale in jazz. My intention here is not to detract from any of it but hopefully through the use of recycling, simplify how one thinks about applying these scales. Instead of...

The following article is an excerpt from my book, “Recycling in Jazz Improvisation” which can be downloaded as a pdf in my Books section of www.DavidCooperMusic.com. Can you Play the Phone Book?  Here is an exercise that should test that knowledge, expand your ear, strengthen your interval recognition and further develop your facility in all keys.  When working on patterns or licks in all keys I have found it very helpful to think of...